THE WEEK: MARCH 5-9.

EDITOR’S PICKS

The vertical gardens of French botanist and artist Patrick Blanc–featuring structures covered in orchids, ferns, exotic plants, and epiphytes freed from the constraints of gravity–transform the historic Enid A. Haupt Conservatory into an exotic spectacle to dazzle the senses in The Orchid Show: Patrick Blanc’s Vertical Gardens. Blanc’s vertical gardens are world-renowned for their cutting edge approach to horticulture. After years of travelling around the world as a professional botanist observing how plants grow in their natural habitats, Blanc pioneered a cutting-edge approach to vertical gardens that is celebrated by horticultural and design communities alike. Learn more about Patrick Blanc, his exciting gardening techniques, and about the fascinating world of orchids through a series of lectures, tours, demonstrations, and public programs.

Every Monday at 8pm Hosted by Kurt Braunohler and Kristen Schaal (Flight of the Conchords), this weekly variety show features comedy from New York’s best comics and sketch groups, new music, special guests, and the occasional, unpredictable oddity. Past guests have included Eugene Mirman, Ted Leo, Aziz Ansari, and more. For more information, please visit http://www.littlefieldnyc.com.

OPENING RECEPTION: MARCH 01, 2011 6:00 PM It has been almost two years since the very first release of Impossible instant film, the wildly anticipated new black & white instant film for Polaroid SX-70 cameras. Although the film was initially in a developmental stage and highly experimental, it dawned on both fanatics and photographers alike that the impossible actually could become possible. Just 19 months later, Impossible has released 12 unique film types for three separate Polaroid camera systems. Although the journey has been short, the length Impossible has come represents a milestone in reviving instant analog photography. Using Impossible’s latest color and black & white films, twelve carefully selected photographers are illustrating a MOMENTUM that will carry instant analog photography through the digital age and beyond.

Boo-Hooray invites you to a book signing and reading by Ed Sanders to commemorate the publication of Fug You: An Informal History of the Peace Eye Bookstore, the Fuck You Press, the Fugs, and Counterculture in the Lower East Side (Da Capo Press). The event will take place Thursday, February 16th from 6-9PM, and coincides with the reception for the companion exhibition, a comprehensive collection of publications from Ed Sanders’ Fuck You Press, including a complete run of Fuck You / A Magazine of the Arts. Copies of Sanders’ memoir will be available for sale.

8:30 – Elisa Flynn – cited as spearheading a genre of literate rock songs, Ms. Flynn writes songs that explore historical themes, allusively. Sometimes she unleashes a swirling dreampop cyclotron, other times a savage roar, often both at once. http://www.elisaflynn.com/ 9:15 – Le Cowboy – If Meaghan Burke (cello), Bernd Klug (double bass), and David Schweighart (drums), three of Vienna’s most thrillingly high-energy improvisers, were to release their full power in the trio “le cowboy,” they would likely end up with a graveyard of (lovingly) destroyed instruments. Fortunately, they don’t. Le cowboy lets its story unfold slowly – a story of a music on the brink of self-destruction, a music that simmers, stutters, scratches against its own boundaries in the constant drama of expectation of a climax which is never to be indulged. (WOW). http://www.reverbnation.com/lecowboyband MORE: http://thesupercoda.com/

12th Street Journal hosts a discussion with important editors involved with the Occupy Wall Street movement: Arun Gupta of the Indypendent, Sarah Leonard of DISSENT, and Nathan Schneider of Waging Nonviolence and occupywriters.com. Theodore Kerr of 12th Street Journal, moderates. 12th Street is the award-winning literary journal of the Riggio Honors Program: Writing & Democracy at The New School.

Dutch Lutenist Jozef Van Wissem is renowned for his experimental approach to Renaissance and Baroque forms of lute music. By cutting-and-pasting classical pieces, constructing palindromic melodies, or adding electronics and processed field recordings, he manages to seamlessly bridge the musical languages of 17th and 21st centuries. If this approach seems coldly academic on paper, the results are anything but: his music is uncluttered and direct, with a viscerally hypnotic and emotional impact, and delivered with an ascetic intensity reflected both in his Biblical titles and his No Wave influences. An incessantly touring musician, van wissem’s hypnotic live shows have taken him all over the world. He has records out on Important Records and his own Incunabulum label. .Van Wissem studied lute in New york with Pat O’Brien and released a classical lute CD ” A Rose By Any Other Name” consisting of anonymous lute pieces.

Barbara Hannigan, soprano Canadian soprano Barbara Hannigan has forged a unique career at the very highest level. Her captivating, pre-eminent performances of twentieth and twenty-first century repertoire – she has given over 75 world premieres – have won new audiences for contemporary music. Widely acclaimed for her interpretations of Ligeti, recent highlights have included performances of his Le Grand Macabre, Mysteries of the Macabre and Requiem with the New York Philharmonic (Alan Gilbert), Berliner Philharmoniker (Sir Simon Rattle) and Symphonieorchester des Bayerischen Rundfunks (Esa-Pekka Salonen) respectively.

or more than four decades, Woods’ drawings have expressed compelling ideas and portrayed otherworldly scenes that suggest alternate histories and futures. With an inventive drive akin to that of Leonardo da Vinci and Giambattista Piranesi, and following the lineage of Enlightenment architect Etienne-Louis Boullée and Swiss surrealist H.R. Giger, Woods invites us to imagine worlds as they might be. His drawings embrace decomposition alongside construction and ruin along with rebirth, presenting a heady brew of politics, history, and graphic bravura that never fails to astonish.

A first look at NYC’s finest emerging variety and circus talents. Get more info on their dedicated web page here. To sign up, e-mail Keith at with “Open Stage” in the subject line. Include a description of your act and the date(s) you are interested in performing. This new series continues throughout 2012: April 2, May 7, June 4, July 2, August 6, September 3, October 1, November 5, December 3.

A number of artists and activists are working together to plan The Line for March 6, 2012. The Line will be the world’s longest unemployment line stretching over three miles along Broadway, from the bull at Wall Street to Times Square. It will include 5000+ people holding pink slips over their heads for 14 minutes— with smart and powerful statistics on the slips for handing out as messaging at the conclusion of the event.

The Odyssey Project: Inside: Ryan Amador (AD), Sarah Chiesa (performer), Aaron Dias (performer), Jenny Koons (director), Nessa Norich (performer), Kana Sato (performer). For 48 performances across 4 seasons, 5 boroughs, and 12 months, The Odyssey Project will engage people in places where dance may not normally occur: public parks, subway platforms, beach promenades, and bus stops. For one night in March, The Odyssey Project will escape the cold of winter and go inside. Exploring metamorphosis and the belly of the whale, we will uncover the hidden worlds inside of every hero, inside each of us. The starting point of the project is the strong belief that every individual living on this planet is on a journey just as heroic and epic as the characters in Homer’s myth .

Puppet Blok! is innovative storytelling curated by Leslie Strongwater. Directed by Laurie O’Brien, written by Erik Ehn, sound design by Kari Rae Seekins. Puppeteered by James Simmons, Charlie Del Risco, Erik Lindley & Emily Oliveira. US policy in Guatemala from the point of view of a drunk prison executioner from Texas gone AWOL. Rory’s on a spree, with second thoughts about industrialized killing, thinking he is free (out from under the shadow), but he discovers wide reaching entanglement. A brief and swirling adventure.

Kalkidan is the subject of a portrait by Kehinde Wiley that will be on view in the exhibition, Kehinde Wiley/The World Stage: Israel. He is recognized internationally as a pioneer in the genre of Hip Hop/Reggae in Israel, and his music takes on all aspects of Israeli life. He has toured in both the US and Israel. Paul D. Miller has worked on a number of compilations, remixes and collections of material, including original compositions. His written work has appeared in The Village Voice and Artforum among other publications. His work as a media artist has appeared in the Whitney Biennial and many other museums and galleries. He is the author of the Rhythm Science and Sound Unbound.

Vaudeville Park is pleased to present a multi-piece sculptural glass, light and drawn works installation together with a live music performance, for March 8th, 7:30pm. This exhibition is anticipation of a potentially larger, future Planetarium event. Blending “sci-fi” film score with interpretive acoustic electric “new music” music. This installation performance takes as its subject the USGS Landsat survey satellites.

Tonight film / video archivist Russell Scholl presents a program of pictures that really MOVE. Short films that are short on the verbal but long on the action; moving pictures with an emphasis on rhythm, light, color, speed, and sound. On offer will be films spanning the past hundred years, including animated, experimental, musical and some that defy category. Entertaining too. Come see newly acquired favorites as well as a few “deep catalog” titles from the archive. The scales will fall from your eyes as you let these images tickle your reptilian brain. You’ll be challenged, entertained, confounded and uplifted

Beat poets used jazz as a backdrop for their prose but their approach was more parallel than integrative and more deferential than symbiotic. While Unearthish invites that comparison, violinist/poet Sarah Bernstein has instead created compositions that are post-Beat holistic works of art. Her muse is more the performance poetry of Hedwig Gorski than Allen Ginsberg’s Howl set to a soundtrack of Miles or Trane. Bernstein attacks a diverse array of subjects with staccato jibes and jabs that can require some interpretation. “War” is “fear within a square” while “Normality” is feeling that escalates into insanity and is then transformed into normality. Her gift though is the exquisite interlacing of the rhythm and feel of her words with the rhythm and feel of the music. Bernstein’s violin is also a versatile voice and she uses some electronics to shape its sound. Percussionist Satoshi Takeishi is Bernstein’s rhythmical partner on these duets and he has never sounded more at home.

Our show is an ever-changing attempt to perform 30 plays in 60 minutes–an original concept by Greg Allen and the Neo-Futurists. The single unifying element of these plays is that they are performed from a perspective of absolute honesty. We always appear as ourselves on stage, speaking directly from our personal experiences. Each short play is written by a performer, honed by the ensemble, and randomly collaged with twenty-nine other plays through high energy audience participation. Each week, these plays shift as ensemble members add new plays to the existing body of work. Each night of performance, we aim to create an unreproducable living newspaper of the comic and tragic, the political and personal, the visceral and experimental.

HERE’S HOW IT WORKS: There will be 2 sets of round robins, with a break in between. First set is Clara Engel, Spiff Wiegand, An Historic, Elime Sorbsel. Second set is Lucio Menegon, Upholstery, Charmaine’s Names, Valerie Kuehne. What’s a Round Robin? – The term round-robin was originally used to describe a document signed by multiple parties in a circle to make it more difficult to determine the order in which it was signed, thus preventing a ringleader from being identified.[1] The term has evolved to account for any activity in which a group of resources is interacted with singularly and in a circular order. http://en.wikipedia.org/wiki/Round-robin

Now in its 106th year, the University of Missouri-Kansas City (UMKC) Conservatory is internationally recognized as a center for artistic excellence, innovation and engagement. The Conservatory is a vital partner in Kansas City’s renaissance as America’s Creative Crossroads, most recently symbolized by the internationally heralded openings of the Kauffman Center for the Performing Arts, and the Todd Bolender Center for Dance and Creativity.

Distinguished intellectuals, political leaders, activists, and artists from both Geneva and the U.S. join forces to ask that question. Rousseau was an ardent defender of equality, justice and democratic participation. His moral and civic anger at the ways in which the Enlightenment “threw garlands of ﬂowers over our chains” speaks directly to today’s protest movements, from Occupy Wall Street to the populist side of the Tea Party. What is the relevance and urgency of Rousseau’s political and social ideas today? How does the author of Discourse on Inequality help us explore the disturbing and destabilizing cracks that have led to democracies in crisis, perhaps in demise?

The 5th Annual NY Peace Film Festival takes place at All Souls Unitarian Church at 1157 Lexington Ave (between 79th & 80th) Fri March 9, Sat Marcf 10 & Sun March 11, 2012. Advance tickets are available on line at: http://www.nypff2012.eventbrite.com for $12 for the day’s screenings—as many screenings as you wish to see that day. Tickets are also available at the door (cash only): $15 for the day’s screenings—as many screenings as you wish to see that day.

OTHER EVENTS:

Bruce Brosnan began exhibiting with Feature Inc. in 2000 and See, hear, remember is his fourth one-person exhibition witht he gallery. He lives and works in Brooklyn, has a BFA from Maine College of Art (19915) and an MFA from Hunter College (1998), which is where I first saw his inspired installations. Tyler Vlahovich has a BFA (1989) from California Institute of the Arts and lives and works in Los Angeles. This recent work is his third one-person exhibition with the gallery and coincidentally, we also began working together in 2000.

Exhibition Hours: Tuesday–Friday, 12–6pm; Saturday 11–6pm Open Sunday, March 11 from 12–6 FREE Curated by Rashida Bumbray This solo exhibition presents the New York premiere of Simone Leigh’s most recent sculptural explorations of materiality, women’s work, and Afrofuturism. Leigh is known for her archaic, anthropomorphic forms in porcelain, terracotta, tobacco, glass, and steel that employ early African ceramic techniques to evoke contemporary parallels and underlying social and economic conditions. For You Don’t Know Where Her Mouth Has Been, Leigh draws from a diverse range of influences, from early African-American face jugs and the manifesto of Africobra to Star Trek and Gilbert and Sullivan in order to evocatively explore the slippages between the multifarious cultural, political, and colonial histories that have laid claim to marginalized bodies.

A new piece by Nellie Tinder, “Evelyn” is the story of a film star committed to a mysterious mental health facility in the midst of a druidical wood. Told through noir/suspense narrative styling, and scored by a small live orchestra that draws on the movie houses of old, Evelyn is a darkly classic story of the stranger who infiltrates a closed society and tears it apart.

FROM JANUARY 8 Premiering at the DUMBO Arts Festival on September 23, 2011, The Dumpster Project is a work of transportable public art. The Dumpster Project is also a daily blog (www.thedumpsterproject.com). Fundamentally, though, The Dumpster Project is a physical taxonomy of one man’s existence. Mac Premo is a Brooklyn-based collage artist. His longtime Boerum Hill studio was a sanctuary for an assortment of objects accumulated over decades. Included among the hundreds of items are old baseball cards he shared with his dad, the shoes his eldest daughter first walked in, recently extracted wisdom teeth from an eccentric friend, a Persian music mix-tape, and a fortune cookie message that warns him against the pitfalls of relaxation (it reads: ‘You’ve had a good start. Work Harder!’). More than just objects of ephemera, they are participants in Mac’s artistic repertoire that act as both influence and raw material for his body of work.

ngel Otero is a visual artist best known for his process-based paintings. While much of his works have been influenced by memories based in photographs and other family memorabilia combined with the gestures of 20th century painting, his latest works highlights the artist’s unique process as a form of narrative in itself. Through his innovative process of oil paint scraping, Otero venerates historical oil painting while confronting it head on. Otero’s ‘deformation’ approach to painting his works, first across glass and then once dry, flaying the dried paint and reconstructing the composition anew across large canvasses, is representative of how the artist perceives the process of reconfiguring both personal and historical narratives. Otero’s work sometimes uses process as a way of confronting deep, personal memories. Instead of representing his life through art, he archives moments within it by creating opportunities of surprise and discovery.

Opening Reception: Thursday, February 23, 6-8pm Gallery hours: Tuesday – Saturday, 11am-6pm The Ink Drawings were painted using a practice developed during the making of the Pencil Drawings, 1972, always beginning in the upper left corner and finishing in the lower right. The support and medium change while the technique remains the same. Here the ink mixture is more or less diluted, with darker and lighter results. The technique is based on the idea that repetition will produce changing results; the titles of the drawings are the date of completion – a record of the day’s work.

Opening Reception: Thursday, February 23 5 – 7 pm Sears Peyton is pleased to present Fragments of a Worldview, the gallery’s third solo exhibition of New York artist Bo Joseph, on view February 23 – April 5, 2012. This exhibition will feature seven large works on paper, five of which measure nearly seven feet high, from an ongoing series that has been the focus of Joseph’s practice since his return from Berlin in 2009.

Masters & Pelavin is pleased to announce a solo exhibition of recent sculptures by Dutch artist, Cecilia Vissers. Inspired by the landscape of ‘the far north’ of Scotland during a trip in 2011, Cecilia decided to focus on the cliffs and extreme edges of land, this is the most north-westerly point in mainland Britain. Isolated and dramatic. This work is an abstraction of the landscape, its purity, color and clear line. This will be the artist’s first solo exhibition at the gallery and in the US.

February 23 – April 7, 2012 Opening Reception: Thursday February 23, 6 – 8 pm Artist Talk: Saturday March 10, 12 pm Starting with recycled drawings, photographs, and revisited childhood places, Allison Gildersleeve builds an increasing complexity – and like a visual puppetmaster, deftly orchestrates our eyes’ travel in perpetual motion. Rather than a passively-observed vista that reveals itself immediately, she aims to orient the viewer in a specific way. Then she allows the paint to swirl into a deliberate morass, forcing us to constantly lose the thread. Finding parallels in poets such as Wallace Stevens, Gildersleeve fights against a sense of order or stasis, and instead leaves borders undefined, odd juxtapositions of scale, vibrations of lush color and constant mark variation. We see a rock and just as soon have forgotten that cognition, as the patch of grey “rock” quickly erases into paint, movement, dab, or stroke. Often the most clarity is found in an unexpected corner or edge

A museum is nothing without a gift shop. A museum without nudes is really no fun at all. This the best of all worlds: a museum attached to a gift shop with nothing but nudes. In her inaugural exhibition at DODGEgallery, Ellen Harvey offers several strangely beautiful and hilarious explorations of the art nude that both question and exploit our fascination with depictions of our naked bodies to create an intentionally contradictory and often incoherent model of art as a form of desire. These works which are part of Harvey’s ongoing Museum of Failure, explore the paradox that at a time when no one need resort to figure drawing classes to see naked members of either sex, the popular imagination still clings to the nude as one of the great subjects of art.

Ana Cristea Gallery is proud to present the first solo show in the United States of the Belgian artist Michiel Ceulers (born 1986). As an artist, Ceulers concentrates on the bare essentials of painting: canvases and wooden panels, paint and spray paint. Ceulers is entirely committed to painting as an ongoing art form, saying in an interview that painting “has been declared dead a few times, but still many people consider painting the most relevant medium.” Part of the impulse associated with the logic of chance the artist submits his canvases to can be seen as an attempt to move beyond from the boundaries of painterly tradition. As a result, the artworks’ origins are not only painterly, they are also conceptual. As stated in the artist’s own words, his “paintings are the result of events that form a chain reaction, so in a way they are larger than the canvases themselves – they are spatial.” Thus, true to himself, Ceulers maintains steady ground, balancing the idiosyncrasies of his pra

End of Century is pleased to announce, “That Old Time Religion,” an exhibition of work by Colin Ruel. Like manger scenes on a Christmas cards or a drawings in the Lascaux cave, Ruel has created an entire visual vocabulary for the cult of his imagination, influenced by shaman practices and catholic iconography. His subjects – Virgin Mary’s, Feather-haired Navajo Chiefs, and diving birds – save, sacrifice, misguide, and redeem, on salvaged wood, stretched denim, and rain gutters from Martha’s Vineyard. Opening Reception Friday, February 24th, 7-9 PM at End of Century, 237 Eldridge Street, New York, New York. DJ Set by Will Roan of Amazing Baby.

The Abrons Arts Center is pleased to announce On the Outer Edge, an exhibition by Spanish-born New York based artist PS3* Pedro Sanchez3 in the Upper Main Gallery. The artist presents a new video work in his full-scale model home designed for a life of deliberate deprivation. Based on Brazilian favelas and built from materials found in and around the Lower East Side, this continually adaptable structure participates in an international language of habitation. Dwellings like the one presented in this exhibition are a global response to poverty — usually inhabited by immigrants or slave workers in the suburbs of large cities in Brazil, Mexico, the Philippines, Morocco, and many other African and Asian countries.

The Abrons Arts Center is proud to present me, we, a multi-platform collaboration partnering with the Dia Art Foundation’s education program, Abrons Arts Center StudioLab program, and 11th-grade Studio Art majors at Lower Manhattan Arts Academy (LoMA). Grounded by a continuously evolving installation on view at the Abrons Arts Center from February 17-March 17, 2012, me, we is an exploration and articulation of collective authorship that blurs the lines between studio space, exhibition, and public forum.

Andres Bedoya’s performance installation Ultra Madre was originally presented at the Museo Nacional de Arte in La Paz, Bolivia, in 2009. Born of private mourning, the piece ultimately speaks of loss as a collective experience. Installed within the main arch of the museum’s patio, a steel and wood scaffold holding 57 women disrupted its architecture physically and functionally. For approximately one hour, participating women lay still with their long hair cascading down the 15-foot structure. In stark contrast to the hardness of the building, the body appeared soft, impermanent, and ephemeral.

Some nights I sit at home and sew and the hours fly by and I look at the clock and see it’s 2 am, time to go to bed. Using my hands has always been a big part of my existence- an art, a craft, a meditation. The exponential growth of technology has also spawned its antithesis – a revival of craft – an elevation of handiwork to a fine art.

Cindy Sherman (American, b. 1954) is widely recognized as one of the most important and influential artists in contemporary art. Throughout her career, she has presented a sustained, eloquent, and provocative exploration of the construction of contemporary identity and the nature of representation, drawn from the unlimited supply of images from movies, TV, magazines, the Internet, and art history. Working as her own model for more than 30 years, Sherman has captured herself in a range of guises and personas which are at turns amusing and disturbing, distasteful and affecting. To create her photographs, she assumes multiple roles of photographer, model, makeup artist, hairdresser, stylist, and wardrobe mistress. With an arsenal of wigs, costumes, makeup, prosthetics, and props, Sherman has deftly altered her physique and surroundings to create a myriad of intriguing tableaus and characters, from screen siren to clown to aging socialite.

Over the last two decades, geopolitical borders have shifted and new technologies have forged channels of communication around the world. Printed materials, in both innovative and traditional forms, have played a key role in this exchange of ideas and sources. This exhibition examines the evolution of artistic practices related to the print medium, from the resurgence of traditional printmaking techniques—often used alongside digital technologies—to the proliferation of self-published artists’ projects. Bringing together some 70 series or projects drawn substantially from MoMA’s extensive collection of prints and books, with the addition of several important loans, the exhibition features major artists and publishing projects, such as Ai Weiwei, Trisha Donnelly, Martin Kippenberger, Daniel Joseph Martinez, Lucy McKenzie, Aleksandra Mir, Museum in Progress, Edition Jacob Samuel, Thomas Schütte, SUPERFLEX, Rirkrit Tiravanija, and Christopher Wool, among many others.

This exhibition presents six fresh and highly focused cross sections through the career of master photographer Eugène Atget (French, 1857–1927), drawn exclusively from the Museum’s unparalleled holdings of his work. The sign outside Atget’s studio read, “Documents pour artistes,”—declaring his modest ambition to create images for other artists to use as source material. This humility belied the visual sophistication and distinctive vision that characterized much of Atget’s own work.

Foreclosed: Rehousing the American Dream is an exploration of new architectural possibilities for cities and suburbs in the aftermath of the recent foreclosure crisis. During summer 2011, five interdisciplinary teams of architects, urban planners, ecologists, engineers, and landscape designers worked in public workshops at MoMA PS1 to envision new housing and transportation infrastructures that could catalyze urban transformation, particularly in the country’s suburbs. Responding to The Buell Hypothesis, a research report prepared by the Buell Center at Columbia University, teams—lead by MOS, Visible Weather, Studio Gang, WORKac, and Zago Architecture—focused on a specific location within one of five “megaregions” across the country to come up with inventive solutions for the future of American suburbs. This installation presents the proposals developed during the architects-in-residence program, including a wide array of models, renderings, animations, and analytical materials.

The Wooster Group has invited Richard Maxwell of New York City Players to direct Eugene O’Neill’s early “Glencairn” plays—Bound East for Cardiff (1914), The Long Voyage Home (1917) and The Moon of the Caribbees (1918). Early Plays takes O’Neill’s tales of sailors on and off the ocean as a base to explore themes of longing and eternity. Dark episodes showing the underside of turn-of-the-century maritime life—brawls, dances and carousing—are staged with a quotidian grace allowing these simple stories to resonate emotionally.

Garrison Art Center, located on the Hudson River in Garrison,New York, has a new opportunity for an artist to realize a project with a community engagement component. The opportunity includes an exhibition in the Riverside Galleries at Garrison Art Center, a community engagement project with teens and their schools, studio resources, administrative support, and a stipend. The exhibition, in October 2012, includes two galleries (one gallery is 700 sq. ft. — one is 250 sq. ft.) The artist will work with teens from 1- 2 local schools to realize a project with an end product that will be shared through an exhibition, performance, or through public art Garrison Art Centerwill manage the logistics and administration with the schools and serve as liaison to the community The artist will have use of the Garrison Art Center studios, including printmaking, ceramics, sculpture, drawing and a film darkroom Stipend will be determined by experience and scale of project

Giorgio Guidi and Marta Pierobon formed Draok in 2010 to work collaboratively on shared interests including architecture, perception and social systems. Both Guidi and Peirobon have long been fascinated by the secretive and hidden: crypts, cults, ghosts and memories. Italian cities are built on the foundations of previous settlements–Etruscan, Roman and medieval–producing a stratification of civilizations. New buildings rise on the ruins of the old, burying earlier structures in rubble and debris. In Italian Catholicism there is a long tradition of covering and hiding the past; it is deeply embedded in the hierarchy of the church. Beneath the modern city lies the still present and living past and its treasures, relics, and corpses.

Ingredients of Reality: the Dismantling of New York City by Lan Tuazon presents sculptures, drawings and prints that discuss how history, the law and class structures are written on the physical environment. Surrealist in concept, Tuazon takes real/existing parts of the built environment — including buildings, lots, and monuments – and creates a new reality against the repressive logic of property. The exhibition includes the presentation of two new works: Architectures of Defense and New York City Bar Graph, which paired with Tuazon’s Army Park and Parking Lot Landscape, present the city disassembled into parts and functions unveiling taxonomies of power reordered into new composite figures that render visible what reality has ceased to distinguish.

This exhibition showcases Biddle’s continuing interest in mixed media, with a twist of humor found in much of her work. Old wires, light bulbs, screws and other found objects protrude from holes in ceramic objects, while creature-like robots – strange, disturbing and endearing – appear in collages and drawings. Liberty is a contemplation of the present in the wake of 9/11. The Statue of Liberty itself simultaneously represents an overused icon and a diminishing concept. These works offer a means of viewing such images and enable reflection of our world, our nation, our politics, our person, our perspective, and our relationship to all. Mann’s large paintings in Root, created by combining chance stains with highly rendered decorative elements on oversized, un-stretched paper, function as human-sized portholes into a landscape alive with minute details, patterns and interlocking systems.

Hear Beethoven the way Beethoven intended. Over three extraordinary weeks, conductor David Zinman leads the New York Philharmonic in his “exhilarating” (Gramophone magazine) approach to the masterpieces of Beethoven, revealing fresh vitality in the music. Performed with the brash vigor, passionate joy and raw pathos that Beethoven himself intended, these symphonies will sound bold, dramatic and new. You might call it modern; you’d certainly call it unforgettable. VENUE: Lincoln Center Avery Fisher Hall Check website for times.

rhv fine art is pleased to announce an exhibition of drawings and paintings by Brooklyn based artist Deanna Lee. Please join us for the opening reception on Thursday, March 1, 6pm to 8pm Cocktails and after-party at Lot 2

Bruce Silverstein Gallery is pleased to announce an exhibition of mixed-media works by the artist John Wood. The exhibition will feature Wood’s groundbreaking conceptual and process driven series: Baltimore Steps, 1991-94; Nine imaginary Oil Spills, 1995; Triangle in the Landscape: Eleven Second 90 Degree Turn of a Paper Triangle, 1985; Beach Drawings, c. 1983 and his Gun in Landscape Series c.1967. In addition, the show will include a selection of significant works spanning Wood’s career that emphasize the social and environmental issues that have informed his works since the late 1950s.

Harriet Korman’s last solo exhibition of new work took place at the gallery in 2008. She has continued to focus on color and shape in new paintings that attain a decisive and brilliant clarity. Basing the compositions on line drawings, Korman uses the location of the lines as boundaries between colors, and selects individual unblended pigments for the resulting shapes. She exposes each color’s intrinsic qualities of hue, brightness, transparency, and texture through the juxtaposition of related or contrasting colors and a deceptively casual paint application. Diagonals that slice across the mostly four by five foot canvasses give rise to an interesting reverse symmetry; horizontals and verticals further divide wedges into triangles and polygons. In the end, Korman achieves a shifting dominance between whole and divided shapes through the purposeful selection and arrangement of color.

Set on an isolated farm in eastern Kentucky, Heathens is an unsettling comedy that makes the term “family values” take on new meanings. When a wandering laborer follows a woman home for the night, he finds a lot more than he bargained for in the home she shares with her sister and her Mamaw. The play explores mourning, faith, and the dangers of isolation as the characters do battle with themselves and each other. Wednesday – Sunday, March 1 – 18 Wednesday – Saturday at 8pm, Sunday at 3pm Additional Performances Saturday, March 3 at 3pm

7pm shows on March 1st, 2nd, 3rd, 6th, 7th, 8th, 9th and 10th 2pm shows on March 3rd, 4th and 10th Subtext and samovars run Russianly rampant in this Chekhovian mash-up, featuring a cast of twenty-four actors slapping on some of the most famous (patronymic) names in the history of modern theater.

To survive in a time of desperate competition and fervent religion, a traveling troupe of carnival strippers switches to performing stories from the Bible. For this production, Talking Band transforms La MaMa’s Ellen Stewart Theatre into a fairground, complete with game booths, food stands, and geek shows.

Artist’s Reception Thursday, March 1, 6:00–8:00 pm Yossi Milo Gallery is pleased to announce Records, an exhibition of black and white photographs by Mark Ruwedel. Records will open on Thursday, March 1, and will close on Saturday, April 7, with a reception for the artist on March 1 from 6:00 to 8:00PM. This is Ruwedel’s second solo exhibition with the Gallery, which presented his first New York show, Westward the Course of Empire, in 2009. The exhibition will present the artist’s recent projects in the western United States, focusing on the collision of promise and reality. The photographs, primarily of homes and landscapes, were made in the desert regions surrounding Los Angeles, from the western Mojave Desert to the Salton Sea region, as well as in Utah and on a small island in British Columbia.

Wasmuht is widely known for her large-scale, multi-layered oil paintings. Her work derives from an array of pictorial inventions, culminating in an aesthetic tension that aims to reconcile what the artist refers to as the “dualism of modernism,” a melding of representational and abstract structures in painting. The paintings’ images are generated from an array of abstracted and overlapping photographic imagery that Wasmuht sources from a combination of the Internet and her own personal photographs. The images, both appropriated and her own, mine daily life, nature, science and art, fusing into staged abstracted productions. As Wasmuht describes her process, “In a film, one image is followed by another, whereas I pile the images up on top of one another.” Above all, her labor-intensive painting technique characterizes her work.

Exhibition: March 1 – April 7, 2012 Opening Reception: March 1, 6-8pm Steven Kasher Gallery is pleased to present George Platt Lynes, an exhibition of over 40 vintage prints drawn from an important private collection. The exhibition includes major examples of nudes, portraits, ballet pictures and surreal images photographed by this American master between 1933 and 1953.

Exhibition: March 1 – April 7, 2012 Opening Reception: March 1, 6-8pm Steven Kasher Gallery is proud to present Spar: Photographs from Cuba by Paul Meleschnig. Included in the exhibition are over twenty gelatin silver prints. In his recurring travels to Cuba between 1997 and 2009, Meleschnig captured boxers and their everyday life of physical training. Gymnasium, ring and street collectively unfold the lives of young men in a sort of visual poem.

John Felix Arnold’s drawings and mixed media pieces combine a fine art aesthetic with a stylistic execution that’s intentionally derivative of graphic novels and comics. Equally influenced by this subversive genre of literature, modern dance, and his father’s collection of modern and abstract art, Arnold layers imagery with commentary to create a hybrid reality that references his synthesized human experience and aims to inform people of an ever hurtling machine that they are being wrapped inside of that is eating away at their humanity, yet seemingly cannot live without.

The 2012 New Museum Triennial will feature thirty-four artists, artist groups, and temporary collectives—totaling over fifty participants—born between the mid-1970s and mid-1980s, many of whom have never before exhibited in the US. The exhibition title, “The Ungovernables,” takes its inspiration from the concept of “ungovernability” and its transformation from a pejorative term used to describe unruly “natives” to a strategy of civil disobedience and self-determination. “The Ungovernables” is meant to suggest both anarchic and organized resistance and a dark humor about the limitations and potentials of this generation.

Lauren Luloff’s recent collage paintings bring to mind the sky, the worn floor of a textile mill, tea in an old porcelain cup and laundry drying in the sun. Her process is simple: first she stretches semi transparent fabric over stretcher bars, then glues swatches of fabrics and paints on this “ground”. Nothing is hidden and everything is revealed. The process, laid bare, yields something mysterious; the work becomes hazy and atmospheric, like dawn or a memory of childhood. The fabrics simultaneously root and dislocate the painted colors, like Matisse who famously always painted with scraps of printed fabrics hanging around his studio.

For the first time ever, selections from Mary Shelley’s Frankenstein manuscript will be available for public viewing in the United States in this exciting exhibition, which is being shown in collaboration with the Bodleian Library at Oxford University in England and will highlight the literary and cultural legacy of P.B. and Mary Shelley, and that of her parents, William Godwin and Mary Wollstonecraft.

Bobbi Beck has exhibited her artworks at five New York City Public Libraries. She now travels to the Grand Central Library Branch for another exhibition. Included are many new drawings rendered with vibrant colors. The drawings are autobiographical and reflect her day-to-day observations and feelings. They convey her emotional and visual renderings of humor, love, gender conflicts, marriage, family, health, joy and sorrow, anguish and global issues.

The evolution of motion pictures from invention to art form has spanned the century. The basic elements of the promotion and distribution of film were established in the silent-film era. This exhibition focuses on the develoment of those elements — posters, promotional magazines, advertising, and exploitation campaigns — from pre-cinema to the transition to sound film. The gallery visitor will be able to view posters, programs, advertisements, and lobby cards that were shown to the public from 1890 to 1930, as well as original gouache designs for posters, including an early, pro-Union sketch for Birth of a Nation. Also on view are things that the public was never supposed to see — periodicals, calendars, and exploitation sheets giving advice to theater owners and managers on publicity, advertising, and retail tie-ins for films starring Theda Bara, Lillian Gish, Corinne Griffith, Harold Lloyd, Pola Negri, Mary Pickford, Ben Turpin, Rudolph Valentino, and many others.

Opening Receptions: Wednesday, March 14, 6-10pm Thursday, March 15, 6-10pm In the latter half of the 2000s, skull iconography experienced a massive cultural renaissance. Alexander McQueen, arguably the most influential designer of the last twenty years, adopted the skull as his brand trademark in the early 2000s; reproducing it on everything from scarves to jeweled clutches. Meanwhile, in 2007, British enfant terrible Damien Hirst sent shockwaves through the art world when he sold a diamond-encrusted human skull for $122 million dollars. Gradually, throughout the course of the 2000s, skulls shed their more macabre, foreboding implications and became widely accepted as signifiers of not only dark luxury and good taste but of the precariousness and preciousness of human existence.

Opening Reception w/ guest DJ Taka: THU 01 MAR, 6:00 – 9:00 pm Artist Talk w/ Live Performance by Bow Ribbons & Smiles Guthrie: FRI 16 MAR, 7:00 – 10:00 pm Rabbithole Gallery is pleased to present an exhibition of new paintings by French artist Pierre Fichefeux from his series The King of Chickens Makes Havoc in Heaven. Opening March 1st and extending through to the 31st, this will be Pierre Fichefeux’s first solo exhibition in New York City.

Although the process of collage has been around for millennia it was George Braques and Pablo Picasso who, in the early 20th century, made the act of cutting and pasting disperate elements of paper, cardboard, string or basically whatever into works of fine art. This marked the beginning of a mash-up between “high” and “low” culture that would eventually occupy an enormous movement in contemporary art. RHV Fine Art has selected three artists, James Cullinane, Sharon Lawless and Andrew Zarou, from it’s exceptional roster of artists, each of whom uses the technique of collage in different ways and to different ends. March 2 – April 15, 2012 Opening reception: Friday, March 2, 6:30 – 8pm

In this immersive theatrical experience, UglyRhino brings you the story of real ghosttown Centralia, Pennsylvania, where you’ll travel throughout the warehouse space, encountering the nine intriguing characters who refuse to vacate the town. While you hear their extraordinary stories, you will be served signature drinks that have been specially designed to pull you further into the world of the play

Photographs, often characterized as frozen moments in time, are in truth physical objects in perpetual transition, born of a medium that is itself thought to be disappearing. Created by light falling on photosensitive surfaces, photographs begin as passing instants that continue to evolve as they materialize as images. Even when fixed or printed, photographs remain susceptible to change due to internal flaws, artistic intervention, or environmental factors. As objects in flux from the moment of inception, photographs are like ruins, or fragments of time. Traces and remnants of the past, they are simultaneously stable and transient, present and absent.

Since 2008 Heide Fasnacht has been exploring landscapes of cultural destruction and in the process has recovered images long dormant and silent. Against our social climate, marked as it is by an inability to face history, Fasnacht takes on the challenge of excavating the past as she examines the fate of cultural artifacts in times of conflict. She begins in medias res, figuratively and literally, and assembles arrays of things stolen, hoarded, lost, recovered, and demolished as a result of war. Fasnacht draws on multiple sources, including the Nazi’s confiscation of art and treasure, the Allies’ bombing of Monte Cassino, looting and damage at the Umm al-Aqarib archaeological site in Iraq following the US invasion, the methodical looting of treasure by Japanese forces in WWII, Japanese internment camps in the US, the Taliban’s destruction of the Bamiyan Buddhas, the London Blitz, the TET offensive, the Monuments Men, and the Rubble Women.

David Krut Projects is pleased to present Print Me, the first exhibition dedicated to Chakaia Booker’s prints. Booker began collaborating with Master Printer, Phil Sanders, of Robert Blackburn Printmaking Workshop in 2009, and has created over 100 unique prints to date. The title of the exhibition, Print Me, refers to the collaborative dialogue between Booker and Sanders, in which Booker would leave hand written notes for Sanders once her compositions were finished and ready to print. This exhibition features a selection of these collaborative prints, which highlight Booker’s investigation of the two-dimensional framework through experimental print media.

Reception March 2, 6:00 PM – 8:00 PM SIMONE GILGES presents, in her second New York solo exhibition at Foxy Production, a new series of photographic portraits. Her photographs draw astute visual connections between the people she portrays and the settings in which they are posed. Gilges channels the tropes of portrait, design, and fashion photography into an enigmatic idiom that both discloses and holds onto its secrets.

This March, Causey Contemporary is pleased to present Mesmer Eyes, a solo exhibition by Kathy Goodell. Sculpture and drawing, Goodell’s most familiar forms, are utilized as physical accents within Mesmer Eyes, the tactile qualities leading one from nature to the metaphysical. Mesmer Eyes is characteristic of Goodell’s meditative approach to space, time and consciousness, while optimizing her interests in light and prismatic color to create a hypnotic effect, allowing the tangible to meet the abstract. This will be the first solo exhibition by Ms. Goodell at the gallery, which will include a large-scale, interactive painting installation, aqueous pigment print photographs, sculptures and drawings from 2011-2012.

OPENING RECEPTION 2 MARCH, 6 – 8 PM Evans examines the processes of making art — the generation of ideas and materials, their transformation from one to the other, and the many varied states in between. For this exhibition, he will present paintings, sculptures, photographs, and a sound piece in an all-encompassing environment. The wall paintings and collage environments of past installations, such as timecompressionmachine from Greater New York 2010 at MoMA PS1, have been collapsed by the artist and transferred to the surface of large-scale canvases. Mundane materials such as artist’s tape that previously played a key role as a barrier, frame, and drawing tool, are carefully recreated as trompe l’oeil representations, as the use of actual tape in the final compositions diminishes.

Opening: March 2, 6 – 9PM Special event: March 9, 6 -9PM The show’s title is based on a piece by Vikenti Komitski, which presents an intriguing world map whose continents have come together in a single, interconnected body. Is this restored Panguea, a Utopian island or a new world order? Is it the result of natural disaster or of carefully engineered forces of globalization? “Together Again” is charged with both contradiction and potential, fueled by a Romantic sentiment that togetherness/ solidarity is still possible. The show is immersed in the “ideal,” presenting artistic gestures that push beyond a possible yet desirable future. Landscape is a recurring motif, behind which lie attempts to observe and contemplate, efforts either enhanced or mediated by technology. This detour back into nature is interrupted by an accelerating tension between nature and culture. Thus is formed the overall arch among these artists’ exercises in Utopia.

Studio10 is pleased to announce Scissors, Paper, Glue and Books I Can’t Cut Up,an exhibition of new work by the Brooklyn-based artist Tim Spelios. Spelios’s original source materials become the means to mine obscure connections and create irrational associations through juxtapositions of images and objects. The obsolete materials he collects include flyers, books, magazines, trade catalogs and manuals which are often found at flea markets, second hand book shops or on the street. Spelios has a particular wonderment in the printed matter with the covers torn, important pages removed or defaced. Performances in association with the exhibition: March 10, 7:30 – 10:00 pm March 24, 7:30 – 10:00 pm

Opening Reception, Friday March 2, 6-9 pm INTERSTATE PROJECTS is pleased to present The Remaster Cycle, Jesse Hulcher’s first solo exhibition in New York. Through a wide range of digital and analog mediums, Hulcher explores the ways that corporate media influences how we view such disparate cultural experiences as the Vietnam war, Groundhog Day, and the Grateful Dead, among others. With Groundhog Days – or – Same Shit, Same Day, Hulcher has written a custom DVD script that alters the playback of 1993’s Groundhog Day, dictating that the central portion of the film devolves into an endless loop, rendering it a more realistic depiction of Phil Connor’s experiences in Punxsutawny, PA. Staying within the medium of mass market film, The Vietnam Experience – or – Same Shit, Different Song, the viewer is presented with a distallation of the entertainment industries cinematic representation of the Vietnam War thoughout the previous four decades.

Saturdays and Sundays, March 3, 4, 10, 11, 17, 18, 24, 25, and 31, 12:30 and 3:30 p.m. As part of BHS’s Brooklyn Walks and Talks program series, join Urban Oyster, in collaboration with the Brooklyn Navy Yard Development Corporation, for public bus tours of the Brooklyn Navy Yard. Urban Oyster offers two Navy Yard Tour options: a two-hour comprehensive tour for $30 and a one-hour highlights tour for $18. These tours explore the Yard’s transition from one of the nation’s foremost naval shipbuilding facilities to a national leader in sustainable urban industrial parks. Tours will begin and end at the Brooklyn Navy Yard Center at BLDG 92. BHS members receive 10% off all tours. For dates, tickets, and more information, please visit http://www.urbanoyster.com or call Urban Oyster at 347.618.8687.

Saturdays, March 3, 10, and 17, 11:30 a.m.-2:00 p.m. As part of Brooklyn Walks and Talks, join Urban Oyster for this tour. Based on oral histories with residents and business owners in East Williamsburg, this tour explores the history of Brooklyn’s “Avenue of Puerto Rico” – once the heart of a Jewish community – and takes an in-depth look at the Moore Street Market, built in 1941 to mark the end of the pushcart era. Today the market is a centerpiece of the Spanish-speaking community. By the end of the tour, you’ll be equipped with new knowledge about Latin American ingredients and a booklet of traditional recipes to help you recreate the tastes and smells of the market in your own home. Tickets: $39 (10% off for BHS members). Advance ticket purchase is required. Go to http://www.urbanoyster.com or call 347.618.8687.

Last Rites Gallery, for the fourth consecutive year, presents the “Dark Pop 4” group art exhibition guest curated by Gary Pressman (director of Copro Gallery). Artists are asked to create One piece that is truly considered ‘Dark Art’. Many artists find themselves in the groove of creating a certain mood or emotion through their work and have, understandably, become quite comfortable following this path in their art-making. At Last Rites Gallery we want to break that mold and challenge artists to create a piece that searches through new or buried feelings and emotions. The artist’s will let go of the light and allow the dark to thrive, as pop takes on a new form.

THE POP-UP MUSEUM of the Gowanus Canal March 3 – April 22, 2012 Opening Reception: 8:00 PM, Saturday, March 3rd Tumblr: http://gowanuslab.tumblr.com/ A museum’s mission involves the categorization, preservation, and contextualization of objects within a finite space. The Pop-Up Museum is designed to function as the inverse of these practices, bringing together a set of local, “unremarkable” objects that then become art or serve as a springboard for art that references them. Through the playful contextualization and re-contextualization of these objects, we will redefine the museum—both what a museum looks like, physically, and what it does, culturally. Specifically, we will work with found materials from all around the Gowanus neighborhood to create a new “history” of the region and its traditions (a not entirely serious one).

Molly Smith’s second solo show at Kate Werble Gallery addresses the artist’s personal response to the impermanence and cycles of change within the world. The works in this exhibition are purposely unfixed and mutable; they lean, balance, rest or hang precariously, suggesting the possibility of further transformation. Playing with varied heights and angles, Smith’s sculptures intersect one another across sightlines. Along one wall, strips of painted and cut paper are reassembled to span the thirty-five foot length, creating an undulating panorama. As they reference one another with recurrent materials, gestures and objects, the works suggest changing states. In the windows of the gallery, rotating displays show various combinations of a landscape painting, a photograph, and collected ephemera. These displays change daily to reflect how looking, seeing and making are part of Smith’s everyday.

The paintings of John Almanza and the sculptures of Dave Hardy reflect the reckless abandon of progress, with an emphasis on looking at how materials get relegated to the side as other forces push forward. Indulging in the abundances available to them, both artists consider excess and overflow as vital to the physicality and construction of their work. Almanza’s viscous oil paintings rely on a process of application and removal of paint. While the paintings are still wet, he traverses the canvas with a thin strip of plywood—simultaneously scraping away paint with the swipe of a line and adding paint that is carried across on the plywood. This forms a pattern of hard parallel lines that reveals underlying ghosted abstractions perpetually in limbo. Hardy’s sculptures of found glass, foam and an assortment of other materials build tension from the interplay between hard and soft edges. Engineered to confound notions of structural integrity, these works borrow from the urgent language of p

Inspired by Lee’s miniature crime scene sets, von Buhler decided to create the scenes from her family mystery using her own handmade sets and dolls. Utilizing evidence from autopsy reports, police records, court documents, and interviews, she has built a dollhouse-sized speakeasy, a hospital room, a child’s bedroom, and a pre-war apartment. She also created lifelike dolls with moveable limbs to live in these sets. Taking it to another level, von Buhler has now created an immersive theatrical experience to go along with the sets and her own investigation. The play stages these events in mobster Meyer Lansky’s former Lower East Side speakeasy. The location is elaborately set up to mirror the dollhouse sets from the book. The play’s tagline is “The speakeasy is our dollhouse and the actors are our dolls.”

Since its inception 25 years ago, Film Forum’s repertory screen has presented classic films in the best possible 35mm prints, premiering nearly 1,000 new prints and restorations along the way. (On this calendar alone, you’ll find forty-five 35mm prints, ten of them spanking new). While we’re more than ever committed to showing classic films on film, the tremendous advances being made in transferring classics to DCP (Digital Cinema Package), the industry standard, just can’t be ignored. The best DCPs scan original negatives at such a high rate that all of the attributes of a photochemically-produced 35mm (or even 70mm) print — the detail, color density, film grain, etc. — are vividly re-created and even exceeded. But is watching a DCP the same experience as watching a film print? The jury is still out, so for this one-week series, we’ve chosen the crème de la crème of classics on DCP and have invited Sony Pictures’ Grover Crisp.

From nameless nudes to portraits of monarchs, the figure in art has served to codify power. So have art objects, splitting viewer from viewed. Our figures have agency. Our work empowers viewers as complicit participants, as centers of process and experience. We complicate and push against dichotomies and hierarchies: self/other, rural/urban, black/white, perpetrator/victim, family/stranger, performer/observer. We are four artists who met through NYFA’s MARK program. We quickly found common ground in our disparate uses of the figure at intersections of the social/political/personal.

Sundays, March 4, 11, 18 & 25, 2012, 2:00 PM Suggested Admission: $5 / Members & Students Free Solo, Chamber & Jazz Performance by ACSM Students & Alums. Guerilla concerts highlight the talented musicians from the Aaron Copland School of Music at Queens College featuring classical and jazz ensembles. These young musicians will provide excellent performances and also engage its audience through their innovative programs and educational conversations.

Rachel Uffner Gallery is pleased to present a show of new work by Sam Moyer. For her second solo show at the gallery, Moyer will exhibit pieces that continue her examination of the liminal space between the two- and three-dimensional, albeit in a larger, more imposing scale than her work has explored before. In paintings that hover on the edge of sculpture, and sculpture that hovers on the edge of painting, Moyer recalls the rigorous language of mid-20th-century minimalist art, but also the modest, playful and scattershot material processes of home design projects.

Lin Esser’s new exhibition, “Unconventional Tableaux,” began, in part, as an effort to replace a Dia de los Muertos box lost during childhood. Further inspired by the eccentric subjects of English symbolism, sinister figures of the renaissance and the anthropomorphic tableaux of Victorian naturalism, Esser soon found himself caught up in the creation of an entire body of three-dimensional works that he later began calling “tableaux.” His dark introspective vision and extensive experience with film and theater lend a sense of the dramatic to these macabre yet playful narratives about the joys and sorrow of everyday life and beyond.

In 1998, a young college student at the University of Wyoming, Matthew Shepard was beaten, tied to a fencepost and left to die by two men of similar age. After, the nature of the crime was revealed to be from hate and fear of homosexuality. A national debate ensued in America that painfully endures to this day. As the tragic events exploded all over the national media, a group of New York City based actors and writers, the Tectonic Theater Project, known for their unique style and view, were intrigued and went to Laramie, Wyoming to study the impact of these events and the result is the Heights’ March production of The Laramie Project.

A series of conversations about the way 1990s multiculturalism implicated language (“politically correct,” Ebonics, curriculum wars). Tucson Pima Arts Council Director Roberto Bedoya will speak about his experiences regarding the 1990s NEA litigation. Harold Augenbraum, Executive Director of the National Book Foundation, will discuss the “canon.” Ego Trip Magazine will present a slideshow of racialized ’90s advertisements with feedback from hip hop trio Das Racist. Latoya Peterson of the website Racialicious will be part of a panel discussion around race and the Internet. More information available soon at aaww.org/1989

The inaugural exhibition at pop-up exhibition space Site/109, SEX, DUIs and VIDEOTAPE investigates the current day fixation with filming, distributing & watching ‘real life’ experiences. In a world where information overload meets spectatorship, daily life and fiction meld. Presented by Hilger Gallery & BROTKunstalle and curated by Claire Breukel, the exhibition offers visual samplings of new realities that ask us to rethink what constitutes moments of beauty.

The Rare Book and Manuscript Library presents a major exhibition of works by the idiosyncratic illustrator, designer, and writer, Edward Gorey (1925-2000), beginning March 5 and running through July 27, 2012

Ariel Dougherty, co-founder of Women Make Movies, will discuss the groups aesthetic and educational roots and identify the serious dilemmas confronting gender centered media today. Can we create a just an inclusive media culture? With forty years of experience working for feminist media under her belt, Dougherty says we can–and we must.

The 3rd edition of SALON ZÜRCHER will yet again be in New York at Zürcher Studio. It will be for those who feel they are missing out on visiting the individual gallery amongst the whirlwind of the week of the Armory Show in New York—here they will find an accessible & impressive, small but representative fair. This year’s edition will showcase 7 WOMEN ARTISTS SHOWN BY 7 INTERNATIONAL GALLERIES (Amsterdam, Paris, NY). The fair will be intimate and open, with a focus on women artists only. Zürcher Studio located at 33 Bleecker Street between Lafayette and Bowery.

4 ELEMENTS tracks the process of creating a large-scale collaborative painting that spans the walls at PS Project Space. Artists Nic Bevilacqua, Justin Brunelle, Fletcher Crossman, and Paul Seftel combine their four distinct styles into a fluid exploration of new possibilities. Preview reception on February 16th, 2012 from 6 to 8:30 pm. Closing exhibition March 8th, 2012 from 6 to 8:30 pm.

The first solo exhibition in New York City of paintings by Iranian artist Khosrow Hassanzadeh will be on view at Leila Heller Gallery’s Chelsea location at 568 West 25th Street from March 1 through 31, 2012. Haft Khan: The Seven Labors of Rostam will feature two monumental murals on tile, as well as works on paper. A fully illustrated catalogue will accompany the exhibition. Hassanzadeh’s murals are enormous in size: the largest is more than 6 feet tall and nearly 28 feet long. Inspired by Iranian traditions of manhood that existed in a pre-revolutionized Iran, Hassanzadeh combines Persian visual traditions with pop representations of the once-celebrated icon of the wrestler.

Opening Reception for Yi Zhou’s solo exhibition Underworlds Rising and John O’Reilly’s solo exhibition I stand and look at them long and long.http://www.rhgallery.com/
03/06/2012-03/06/2012
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Opening Reception for Yi Zhou’s solo exhibition Underworlds Rising and John O’Reilly’s solo exhibition I stand and look at them long and long. Underworlds Rising is Yi Zhou’s first solo exhibition in the United States. The exhibition is built around Zhou’s 2010 short film The Greatness , a 3-D animated film inspired by Dante’s pilgrimage in The Divine Comedy set to a soundtrack produced in collaboration with Ennio Morricone. The film begins with a Grecian vase, modeled after Pharrell Williams’ head, shattering into pieces. Underworlds Rising will include the film alongside new film stills, drawings and sculptures referencing objects and figures featured in the film.John O’Reilly was recently included in RH Gallery’s 2011 summer exhibition, Contemporary Clay, which was featured in The New York Times and Art In America. This exhibition will include recent sculptures depicting animals which embody the illusion of breath and experience. O’Reilly’s sculptures are modeled in clay and then cast in resin infused with particles of porcelain, bone and graphite.

Brooklyn Arts Council and Scene: Brooklyn invite you to join us at our next filmmakers meet up! Enjoy drink specials, meet and mingle with other local film professionals, and submit your film to this year’s Scene: Brooklyn in person – for 25% off the regular Withoutabox submission fee. Brooklyn Arts Council staff will be on hand with information about our screening programs and services for film and media artists. This will be the last chance to submit work in person before this year’s screening series in May; the withoutabox late deadline is March 8. Hope to see you there!

Do you have your own 1 bedroom on the upper west side like Seinfeld? Or do your writing from your private Manhattan digs like Carrie Bradshaw? Or maybe your biggest fear is choking alone in your apartment like Liz Lemon? If you’re a New Yorker living on your own, you’re actually not alone. More Americans are living alone today than ever before. There are currently 31 million adults (1 in every 7) going solo. And according to a recent study, nearly half of all U.S. adults are single—a record high. This is not simply a trend. It represents the biggest demographic shift since the baby boom. Join Eric Klinenberg, Kate Bolick, and Daniel Smith in discussing the struggles, the benefits, and the shared experiences of going solo.

An extension of the Swept Away exhibition, Swept Away Projects will include a series of “live” installations occurring during the run of the exhibition that will allow audiences to experience and interact with artists and their site-specific installations made of ash, dust, sand, and dirt. The series includes the floor installation of Catherine Bertola of the U.K., who works with dust, among several others. In some instances, visitor will actually get to sweep away the installations by walking through and touching them, participating in the ephemeral nature of these artists’ output. Swept Away: Dust, Ashes, and Dirt in Contemporary Art and Design is made possible by the Inner Circle, a leadership Museum support group, and with public funds from the Netherlands Cultural Services.

Featuring the projects of 23 curators, the show will abandon the traditional focus on galleries – offering a “break” from the typical art fair model – and showcase a range of New York City’s curatorial voices, all surrounding a single exhibition theme – Apocalist: A Brief History of The End. Utilizing over 20 classrooms, hallways, and unique areas in one of the city’s oldest schoolhouses, new art works will be on display, arranged by curators representing the more recent creative contributions of the Lower East Side, Williamsburg, Gowanus, and Bushwick. Apocalist, the inaugural fair’s curatorial theme as described by Andrew Gori and Ambre Kelly, the co-founders of The They Co. and SPRING/BREAK Art Show, ‘aims to elucidate the sense of direction, disorder, celebration, or disdain generated by real or invented global or personal assumptions of calamity.’

he Society for the Advancement of Social Studies (SASS!) is proud to present a series of lectures designed to both entertain and enlighten. On the first Tuesday of each month, we will meet to discuss a different historical topic that you probably knew at one point but don’t remember anymore, plus THEMED DRINK SPECIALS. March is the most depressing month, so come on down to S.A.S.S. and feel better about your lot in life by learning about the the Great Depression. We’ll tell you all about the dust bowl, the unique way New York City dealt with these trying times and give a handy overview of the whole ordeal so you can impress people at cocktail parties with your historical knowledge.

Explore the past, present, and future of fantasy and science fiction with authors Myke Cole (Control Point), Hillary Jordan (When She Woke), and Naomi Novik (Crucible of Gold), in discussion with Tor.com staff writer Ryan Britt. They’ll discuss dragons in the Napoleonic Wars, elves in the Pentagon, criminals of (literally) a different color, and the state of SF/F, as well as sign books and take questions from the audience. Co-sponsored by Housing Works and WORD in a team-up of epic proportions. Plus complimentary wine

Meet Amar Kanwar, whose video installation The Torn First Pages (2004–08) is included both in Being Singular Plural and in the Guggenheim Museum’s permanent collection. Kanwar’s politically astute films and videos, which he has made for the past twenty years, are fragmented narratives of violence, displacement, and resistance told through lyrical, compassionate images and texts. In confronting the geopolitical situation of Burma under its recent military dictatorship, Kanwar offers hope, relayed through the lives of numerous artists, students, activists, poets, monks, and exiles involved in this resistance movement. A reception and exhibition viewing follow.

On Tuesday, March 6, a special co-production with Brooklyn’s RVNG Intl. will bring Los Angeles composer and singer-songwriter Julia Holter to New York for her debut performance. Holter will premiere selections from her magical debut album of last year, Tragedy, as well as songs from her forthcoming album on RVNG, Ekstasis. As a complement to Julia Holter’s songs, the Bay Area pianist Sarah Cahill will open with a program of solo piano music called “The Mystical Tone,” exploring the work of composers who were inspired by Theosophy, Rosicrucianism, astrology, and Transcendentalism, among them Scriabin, Dane Rudhyar, Ruth Crawford, Henry Cowell, and Erik Satie.

Mischief + Mayhem’s Unprintable A monthly reading series featuring new work that writers have either refused to publish, been unable to get past industry censors, or finally managed to publish after much difficulty.

Morgan Lehman Gallery is pleased to announce, “It’s Yours: Wars of the Frenglish Revolution and Other Conflicts 1782 – 1797”. This is the first New York solo exhibition by Los Angeles-based artist Frohawk Two Feathers. Two Feathers’ intricate ink and tea-stained portraits on paper bring to life his complex historical narrative detailing the colonial uprisings against the imagined 18th-century superpowers Frengland and Fenoscandia. Using actual historic events as points of departure, Two Feathers creates fantastical riffs on Europe’s colonial past, revealing how that history plays out in the cultural and political complexities and neo-colonial global conflicts of the contemporary world.

When Jessica Pernikoff told her friend, Brent Arnold, that she wanted to make a video for one of his songs last year, Brent said “ok, sure” but had no idea what to expect. Turns out Jessica wanted to use that footage of Brent playing cello in a freezing parking garage to make him into an international superstar! Jessica, along with her husband Daniel, put in a lot of time and skill, and even despite Brent’s natural aversion to seeing himself on camera, and the results are fantastic.

The Moth is an acclaimed not-for-profit organization dedicated to the art and craft of storytelling. It is a celebration of both the raconteur, who breathes fire into true tales of ordinary life, and the storytelling novice, who has lived through something extraordinary and yearns to share it. At the center of each performance is, of course, the story – and The Moth’s directors work with each storyteller to find, shape and present it.

The exhibition is made up of three videos projected together with objects found along the harbors. “The tide acts like a giant centrifuge,” writes the artist, “reorganizing things according to their shape and density”. In “collaboration” with the tide, Lorenz makes a record of these objects by printing, casting, or videotaping them. Each video was shot from an apparatus connected to the body of the artist and to the boat while en route from Barren Island to her home in Bushwick. This same geographical path is shown three different ways: from a birds-eye view of the artist, at the horizon line and along the shifting contour of the land.

The son of a printmaker, Walton inherited his father’s trade, and for the first fifteen years of his career, practiced and taught printmaking. Interested in the materials used for printmaking-­wood,lead,steel-­more than the finished product,Walton began to make sculptures that spoke to the in after seeing an exhibition of sculpture at the Pennsylvania Academy of the Fine Arts in 1964.

The next dorkbot-nyc meeting will take place at 7pm on Wednesday, March 7th, 2012 at Location One in SoHo. The meeting is free and open to the public. PLEASE BRING SNACKS AND DRINKS TO SHARE!!! WE ARE HUNGRY!!!

Foley Gallery is pleased to host its second solo exhibition of Brazilian artist Alexandre Orion. The installation will feature video footage from the Ossário tunnel intervention project, several soot on canvas paintings from Art Less Pollution and unique prints made by “Pollugraphy” (collecting toxic soot directly from vehicle exhaust tailpipes). The gallery exhibition coincides with Orion’s participation in Swept Away: Dust, Ashes and Dirt in Contemporary Art and Design at the Museum of Arts and Design, New York.

The Armory Show, a leading international contemporary and modern art fair and one of the most important annual art events in New York, takes place every March on Piers 92 & 94 in Manhattan. Now celebrating its fourteenth year, the Armory Show is re-establishing itself as the most adventurous and dynamic contemporary art fair in New York City. The 2012 edition will feature an international roster of exciting, leading galleries, the acclaimed Armory Show VIP program, a lively opening night party at MoMA, the eclectic and engaging Open Forum program with major art- world figures, Armory Film, a series featuring an international selection of leading contemporary video and experimental films curated by Moving Image, and Armory Arts Week in partnership with New York’s top cultural institutions.

March 8th – March 20th, 2012 Opening Reception and Conversations with professional Butchers: March 8th, 7PM at Open Source Gallery Karl Spörk, Another Meeting, at OPEN SOURCE will screen the “hen and hare”, a video by Karl Spörk. Spörk’s father, a butcher by profession, instructs the artist how to slaughter animals. Monika Wuhrer calls for a podium discussion inviting butchers to explain their jobs from their point of view and talk about the perception of the profession within their family, their friends and the public.

FEATURING WORKS BY: AURORA PELLIZZI / WILLIAM RAHILLY / CELIA ROWLSON-HALL Curated by: Curação Calymayor The artists in this exhibition provide a valuable viewpoint to the themes of tension between the past and future. Treatments of cultural memory suggest a foreign space, re-framing the relation between content and consciousness inevitably influenced by the scientific, technological, and social awareness of a dissatisfied present. Aurora Pellizzi and her Greenscreen series is a set of monochromatic, volumetric and freestanding paintings and projections that use surface texture, light and darkness to create images. The title refers to the evenly lit green backdrop used in video, where the backdrop is digitally removed and replaced by another layer of image (cut-out). The slime-green hue is tropical and Martian, natural and digital. These landscapes are the dis-embodied space of abstraction.

The League of Professional Theatre Women, an advocacy organization dedicated to promoting visibility and increasing opportunities for women in the professional theatre, celebrates its 30th anniversary in 2012. The New York Public Library for the Performing Arts is pleased to collaborate with the League to celebrate the oral history legacy which, since 1992, documents an outstanding array of women who have contributed to contemporary American theatre.

There are a few choice examples of pop cultural relics that reach such squirmingly exquisite depths that they—like the shaggy-dog “dig through the core of the planet to China”—improbably invert their critical standing and ascend to an unstable pinnacle of flashing-popping brilliance. With its stream-of-consciousness plot, Escher and Dalí-influenced sets, and hands-down freaky musical numbers, Dr. Seuss’s The 5,000 Fingers of Dr. T. is the champeen. Ted Geisel was inspired to write this (no other term for it) revenge fantasy by recalling the piano lessons he’d endured as a boy “from a man who rapped my knuckles with a pencil whenever I made a mistake… I made up my mind I would get even with that man.” Enter the foppish and maniacal Dr. Terwilliker, an authoritarian piano teacher who seduces willing moms to entrust their sons to him, imprisons them in his barb-wired “Institute,” then forces the boys to play his Seussian, snake-shaped piano—his “5,000 Fingers.”

Composer and saxophonist Steve Coleman, known for his innovative compositional style, brings his improvisational jazz workshop to Symphony Space, demonstrating and sharing his unique technique. Jazz aficionados are invited to bring their instruments, ready to learn the finer points of jazz improvisation from this pioneering jazz artist.

An evening of two innovative women in music on the occasion of International Women’s Day. Chinese-American composer Bun-Ching Lam presents premieres of her new works “Five Songs From Cold Mountain” (for baritone, flute, viola & harp) and “…Like Water” (for violin, piano & percussion). Trombonist Monique Buzzarté presents the world premiere of “Tracing” (2011) by Frances White for trombone and electronic sound, which was funded by the MAP Fund for Creative Arts Performance Projects. The program also includes new works composed for Buzzarté by Sorrel Hays, Alice Shields, Buzzarté herself, and Pauline OlivAneros, with pianist Sarah Cahill.

Dieu Donné announces the opening of an exhibition of new paper-based works by artist Arlene Shechet beginning Thursday, March 8, 2012 and on view through Saturday, April 28, 2012. The opening reception will take place on Thursday, March 8, 2012 from 6—8 pm, and the artist will be present.

Messineo Art Projects and Wyman Contemporary are pleased to announce an exhibition of 15 color portraits by renowned photographer Jason Florio of freedom fighters and civilians who have struggled for independence in the Karen State of Burma, along the Thailand border.

For the one year anniversary of the Japanese Earthquake, Con Artist is hosting a 4 day fundraising event. Purchase dozens of original pieces donated by the artists in our silent auction, and 100% of the proceeds will be donated to Japan Society’s earthquake relief fund. 03.08.2012 Thursday 8 – Late /// Opening Party 03.09.2012 Friday 8 – Late /// Gallery Night 03.10.2012 Saturday 8 – Late /// Gallery Night 03.11.2012 Sunday 8 – Late /// Final Party

Meghan O’Rourke, who teaches in the NYU Creative Writing Program, reads and discusses poems from her new collection, “Once” (W. W. Norton, 2011). The reading will be followed by a conversation with Deborah Landau; this event is co-sponsored with the Poetry Society of America.

Christopher Henry Gallery is proud to present Ironic Icons II by New York artist William Anthony. Ironic Icons II is Anthony’s fourth exhibit with the gallery, which expands on his trademark pseudo-naive drawing style, along with his penchant for reinterpreting allegorical scenes and art historical references. In the spirit of Hollywood sequels, the exhibition is replete with depictions of popular action-adventure masculine subjects such as pirates, cowboys, and gladiators. Anthony exploits, to great effect, the full range of iconographies as a vehicle for his refreshing satires.

Called “Stinging & Satirical” by the Kenyon Review, Another Life is a roller-coaster ride, surreal and real, through the past ten years which tells of the titanic struggle between a mogul and his physician daughter who become embedded in the War on Terror torture program. Greed, war-lust, and sexual enslavement lead to a subtle but growing resistance and whistle-blowing.

Risa Jaroslow & Dancers presents its 25th anniversary season with a riveting program that includes a world premiere and the highly anticipated revival of Resist/Surrender. Known for her rich and compassionate choreography that is rooted in the everyday, Risa Jaroslow’s two works explore the complex and emotional nature of human connections.

Jason McCoy Gallery presents the first NY solo exhibition of German artist Christiane Löhr (b. 1965), featuring sculptures, works on paper, and a site-specific installation. Löhr works with organic materials⎯ivy seeds, plant stalks, tree blossoms, and horsehairs⎯arranging them into elaborate geometric constructs. By organizing single elements into intimately scaled volumetric forms, Löhr derives at a unified entity that exudes harmony and tranquility. Her work encourages focused observation, and when studied closely, pays homage to the wealth and delicacy of detail found in nature. In that sense, Löhr provides a pedestal for the often overlooked and yet omni-present remnants of environmental organisms. Carefully installed, these objects of nature further engage in a dialogue with architecture. Seen outside their natural context and carefully installed in manmade spaces, they gain an iconic presence and clarity. Löhr lives and works in Cologne and Prato, Italy

A panel of experts in education discusses the relevance of Jean-Jacques Rousseau’s ideas in contemporary pedagogy. Moderated by Adam Gopnik of The New Yorker. Presented as part of Thinkswiss: Genève Meets New York, a Festival of Global Ideas Born in Geneva, presented by the Consulate General of Switzerland in New York and The City of Geneva, March 6–12, 2012.

This special project by the Like the Spice Gallery features work by artists including Jenny Morgan, Reuben Negron, Allie Rex, Eric LoPresti, Hans & Gieves, Brian LaRossa and more. Artists have created indoor and outdoor installation-based pieces just for this show. Arts Not Fair also boasts a VIP lounge hosted by Chino Amobi.

Founding editor of WhitehotMagazine.com, Noah Becker is a curator, writer, artist and jazz musician, and contributes to Art in America, Interview Magazine, Canadian Art and The Huffington Post. “This exhibition shows an aspect of high quality work being produced in Europe and North America in our time. The idea of artists being automatically connected in some way is a fallacy fed to us subliminally and linearly. Art history is wound together with globalism through the mass distribution of images and imagery delivered in a linear digital mold. Much of what is documented in two-dimensional artistic practice is fed to the public in a manner that has a host of attached biases. The presumption of a common thread is an attitude propagated by linear thinking as linear thinking is part of everything we do now. In relation to contemporary art, the non-linear holds an important place.

RUFF CUTS sessions are opportunities for New School students to exhibit and discuss their media works in progress. RUFF CUTS is produced by graduate students in Media Studies. The sessions are open to all Media Studies and Documentary Media Studies students as well as graduate and undergraduate students throughout the university who would like to receive constructive feedback on their film, video, multimedia, and other works in progress or simply to participate in the viewings and discussions. Media Studies faculty members attend each session and contribute to a dialogue/critique with the students who are sharing their production works in progress.

The evening will begin at 7:00pm with Anti-Social Music (ASM) performing archival music from 11tet, a now-defunct jazz composers’ workshop from the late 1990′s, as well as new works written for ASM by Kamala Sankaram, Dan Lasaga and Pat Muchmore. ASM’s members include Franz Nicolay (Hold Steady), Peter Hess (Balkan Beat Box), Jean Cook (Jon Langford, Ida), Ed RosenBerg (jerseyband) and John Wriggle (Ex Caminos.) Secret Society will follow with a set featuring Vijay Iyer’s “Three Fragments” and David T. Little’s “Conspiracy Theory”, two pieces commissioned by the band and premiered at the Ecstatic Music Festival in February 2011, as well as a suite of original music from the score of Brooklyn Babylon and other selections from the ensemble’s growing catalog.

ventana244 Art Space is delighted to present a collaborative installation by Peter Dudek/Peter Soriano. ventana244 Art Space is delighted to present a collaborative installation by Peter Dudek/Peter Soriano. Working together in Soriano’s studio for the past several months the two artists used a “call & response” approach to their collaboration: An area was demarcated, an object was positioned, a relief mounted, a picture added, another object placed, an image framed. Coupling various aspects of their divergent working methods elements were amended and a scenario was thereby roughed out. This This scenario was further explored and expanded upon in the space of the gallery. Spray-painted diagrams, found images, fabricated objects and a modular presentation system conjoin in an installation that is at once familiar and digressive, reflective and oblique.

TADIUM is pleased to announce Bcc#7, a one-night exhibition curated by David Harper and Karen Archey, taking place Friday, March 9, 2012 from 6-8pm. The documentation and remnants of the event will be viewable through Saturday, March 17. “Bcc,” an acronym for “blind carbon copy,” is an exhibition format originated in April 2011 in Berlin by Aurélia Defrance, Julie Grosche and Aude Pariset, in which all materials exhibited must be digitally transferred and received. As there have been recent, major shifts in how we exchange information, oft using abbreviated modes of communication, Bcc seeks to reflect this sentiment in medium and message.

The principles of trade unionism are based on working people acting together in solidarity with each other, to improve wages, working conditions, and life for themselves and all others. In its most developed forms, this extends not only to the worker next to you, but to working people all around the world. Some of the foremost proponents of these principles in the United States since the 1880s has been the American Federation of Labor (AFL), then later the Congress of Industrial Organizations (CIO), and since their merger in 1955, the AFL-CIO.

OPPORTUNITIES:

The Keyholder Residency Program offers emerging artists free 24-hour access to printmaking facilities to develop new work and foster their artistic careers. Residencies are one year long, starting on April 1, 2012, and take place in the Printshop’s shared Artists’ Studio. Facilities are available for intaglio, relief, monoprint, waterbased silkscreen, digital processes, and other techniques that employ the tools at hand. Keyholders work independently in a productive atmosphere alongside other contemporary artists. Artists from all disciplines are eligible to apply; printmaking skills are not required, but some familiarity with the medium is recommended. Basic instruction in printmaking is provided for new Keyholders. Technical assistance is not included in the program, but is available at additional cost.

Scene: Brooklyn seeks short and feature narrative films, short and feature length documentaries, animations, and video art from Brooklyn based filmmakers and artists for our Screening Series this May. Deadline: February 24, 2012 Late: March 8, 2012

The Boatel is a fleet of refurbished abandoned boats clustered around a floating platform. Some of our newly salvaged boats are gutted, others have existing interiors. Design proposals should consider functionality. The structural integrity of the boats should not be compromised. Artists will be able to stay part-time or full-time in a boat with water & electricity for the duration of the project. The beach is five blocks away. You are also welcome to bring a kayak or canoe to explore Jamaica Bay, or use one of ours

We are pleased to announce: the 2nd Annual Greenpoint Film Festival has expanded and is now accepting submissions. After the wonderful success of our inaugural event last October, we have expanded to include selected works from submissions to be screened along with high quality curated film programs. We are scheduled for early Fall 2012. Please check our guidelines for more information http://greenpointfilmfestival.org/submissions-guidelines-2012/

Garrison Art Center, located on the Hudson River in Garrison,New York, has a new opportunity for an artist to realize a project with a community engagement component. The opportunity includes an exhibition in the Riverside Galleries at Garrison Art Center, a community engagement project with teens and their schools, studio resources, administrative support, and a stipend. The exhibition, in October 2012, includes two galleries (one gallery is 700 sq. ft. — one is 250 sq. ft.) The artist will work with teens from 1- 2 local schools to realize a project with an end product that will be shared through an exhibition, performance, or through public art Garrison Art Centerwill manage the logistics and administration with the schools and serve as liaison to the community The artist will have use of the Garrison Art Center studios, including printmaking, ceramics, sculpture, drawing and a film darkroom Stipend will be determined by experience and scale of project.

The Hudson River Pageant – Saturday May 12 A community based ecological art and performance project that engages the participation of artists, youth, local residents, schools, community centers, and organizations to participate in the project and our three month educational environmental art workshop series from March -May. Participants work with our resident artists to create the spectacular puppets and costumes for the parade. The culminating parade and theatrical pageant follows a route from Battery Park North to Gansevoort Street, in the downtown portion of the Hudson River Park, on Saturday May 12, 2012 (rain date Sunday May 13), from 1-5pm. The parade of spectacular costumes, giant puppets, mobile sculptures, and live musical bands, features 13 site-specific performances at the piers and significant sites along the route.

The Brooklyn Museum seeks an assistant curator of Contemporary Art to participate in a fast-paced and dynamic area of growth within the Museum. The successful candidate will be deeply familiar with a broad range of contemporary art and will assist with development and implementation of both collections growth and programs.

The Hudson River Pageant – Saturday May 12 A community based ecological art and performance project that engages the participation of artists, youth, local residents, schools, community centers, and organizations to participate in the project and our three month educational environmental art workshop series from March -May. Participants work with our resident artists to create the spectacular puppets and costumes for the parade. The culminating parade and theatrical pageant follows a route from Battery Park North to Gansevoort Street, in the downtown portion of the Hudson River Park, on Saturday May 12, 2012 (rain date Sunday May 13), from 1-5pm. The parade of spectacular costumes, giant puppets, mobile sculptures, and live musical bands, features 13 site-specific performances at the piers and significant sites along the route.

Garrison Art Center, located on the Hudson River in Garrison,New York, has a new opportunity for an artist to realize a project with a community engagement component. The opportunity includes an exhibition in the Riverside Galleries at Garrison Art Center, a community engagement project with teens and their schools, studio resources, administrative support, and a stipend. The exhibition, in October 2012, includes two galleries (one gallery is 700 sq. ft. — one is 250 sq. ft.) The artist will work with teens from 1- 2 local schools to realize a project with an end product that will be shared through an exhibition, performance, or through public art Garrison Art Centerwill manage the logistics and administration with the schools and serve as liaison to the community The artist will have use of the Garrison Art Center studios, including printmaking, ceramics, sculpture, drawing and a film darkroom Stipend will be determined by experience and scale of project

Open to Performing, Literary and Visual Artists of the Capital and Mid-Hudson Region of New York State New York Foundation for the Arts (NYFA) is pleased to announce the first of a series of NYFA MARK Bootcamp programs. For the Capital/Mid-Hudson region we are working in partnership with Woodstock Byrdcliffe Guild, The Center for Photography at Woodstock, Hudson Opera House and Hudson Music Fest to host the program which will take place over one intensive weekend, April 27-29. In 2012, modeled on NYFA’s Artist as Entrepreneur Boot Camp, MARK’12 Bootcamp is now open to artists working in the performing and literary arts. NYFA is excited to be able to support the wide variety of creative activities in the region. MARK is the New York Foundation for the Arts’ (NYFA) program for artists based in New York State, (outside of the five boroughs of New York City) who want a unique opportunity for individualized focus on the professional and business side of their creative practice.

indiefilmpage.com and Coney Island USA present the 12th annual Coney Island Film Festival September 21 – 23, 2012 at Sideshows by the Seashore and The Coney Island Museum in the historic Brooklyn neighborhood Coney Island, New York! Coney Island Film Festival named one of the “25 Festivals worth the entry fee” and “25 Coolest Film Festivals” by MovieMaker Magazine. Regular Deadline – April 27, 2012 Late Deadline – June 28, 2012 Extended Late Deadline – July 12, 2012 Entry categories: Feature, Short, Documentary Feature, Documentary Short, Experimental, Silent Film, Horror, Animation, Music Video. The Coney Island Film Festival is open to filmmakers working in ALL GENRES, SUBJECTS AND FORMATS.

The Brick is pleased to announce the fourth annual Game Play festival, taking place from July 6-28, 2012 in Brooklyn, New York. This year’s festival will once again feature cutting-edge works that lie at the intersection of video gaming and performance. We are now accepting for consideration submissions from a variety of artists, including but not limited to: playwrights and actors performance artists musicians media and visual artists entertainers of all stripes

Now entering its fourth year, Low Lives is an international festival of live performance-based works transmitted via the internet and projected in real time at multiple venues throughout the U.S. and around the world. Low Lives examines works that critically investigate, challenge, and extend the potential of performance practice presented live through online broadcasting networks. These networks provide a new alternative and efficient medium for presenting, viewing, and archiving performances. Artists working in any media are invited to submit proposals for live performance-based works.

Field Projects is pleased to announce our first open call exhibition; emerging and mid-career artists are invited to submit their work for consideration in our April exhibition, Show #4. Submissions will be viewed and selected for Show #4 by David C. Terry, Senior Program Officer and Curator at the New York Foundation for the Arts (NYFA). Field Projects is an NYC-based project space committed to opening the field and exhibition opportunities to other working artists. All of the submissions we receive will be considered not only for Show #4 but also for our upcoming exhibition calendar. As a growing space, this is a fantastic time to submit your work. We are looking for new talent, ideas and practices in the contemporary art field.

If you are reading this, then you probably already know what The 22 Magazine is. If not, we are a Brooklyn based artist run magazine, centering around 22 contributor’s each volume. Artists, writers, musicians and the like welcome. For Vol 3/III/THREE there is no theme or restriction. We will accept work on any topic. We are particularly looking for fiction or essay writers, as well as musicians for this volume but are happy to receive art submissions as well. Be creative, push the limits of what these generes define. Don’t be afraid to speak your mind. Submissions guidelines are here.